Phoenix and Taylor are really great on this. Remarkably written and really well shot film, with a good eye for romance and naivety, that renders the harsher moments of the narrative more stingy. This is secretly a bit of a sad film, conducted with a very honest and kind heart towards its characters and the world that surrounds them.
'Je veux voir tout ce qui se cache, et vivre à fond ma vie cachée'.
Psychosexual disorder developing itself in the decadence of the bourgeois establishment, hidden lies becoming new truths at the margins of society. An unusual but somewhat spiritually faithful adaptation of Melville's book. Carax renders the incestuous raptures of the film and the main character's sentimental evolution deeply felt through his usual convulsive style, showcased by a luminous formalism (good lighting by Gautier, by the way) and a wonderful eye for gestures.
The most essential film ever made. Everything that came before was groundwork, everything that came after is a remake. Lush, mysterious, haunting, oneiric and entrancing work, on the very nature of cinema - it flows like a spell, ensorcelled by a stunning dizziness that conducts its obsessive edge. The erosion of time and the impermanence of death condensed in the image of beauty, a film with an expansive matter that also encompasses ethics, architecture, guilt, dreams, politics, botany, art and…
one of the most diligent films ever made, a painstaking coming of age odyssey with an incredibly expansive symbology: everything here is absolutely essential, a boy whose back hurts because he needs to help his father by carrying milk, some brownish red pants, a gust of wind in the backyard, the windows' reflex on the walls... it's all very potent, these signs aren't there for mere narrative development, they address a much bigger spectrum where politics, economics and metaphysics collide.…